everyone i have ever slept with 1963 1995 : definition of everyone i have ever slept with 1963 1995 and synonyms of everyone i have ever slept with 1963 1995 (English) Jump to: navigation , search Everyone I Have Ever Slept With 1963–1995 by Tracey Emin (1995). An exterior view of the work. Everyone I Have Ever Slept With 1963–1995 (1995), also known as "The Tent", [1] was an artwork created by Tracey Emin RA (born 3 July 1963), an English artist of Turkish Cypriot origin and a leading member of the group known as Britartists or YBAs ( Young British Artists ). The work was a tent with the appliquéd names of, literally, everyone she had ever slept with, but not necessarily in the sexual sense. It achieved iconic status, [1] was owned by Charles Saatchi , and was destroyed in the 2004 Momart London warehouse fire. She has refused to recreate it.

[2] Contents 4 References History Tracey Emin calls Everyone I Have Ever Slept With 1963–1995 "my tent" [3] or "the tent" [2] and considers it to be one of the two "seminal pieces" she has created (the other being My Bed ); [3] she has described both pieces as "seminal, fantastic and amazing work". [2] Everyone I Have Ever Slept With 1963–1995 was a tent appliquéd with 102 names of the people she had slept with up to the time of its creation in 1995. [3] The title is often misinterpreted as a euphemism indicating sexual partners and the work termed "a list of all the people that Emin has ever had sex with", but is in fact to be taken as a literal statement: [1] “ Some I'd had a shag with in bed or against a wall some I had just slept with, like my grandma. I used to lay in her bed and hold her hand. We used to listen to the radio together and nod off to sleep.

You don't do that with someone you don't love and don't care about. [3] ” Everyone I Have Ever Slept With 1963–1995 by Tracey Emin (1995). An interior view of the work. The names include family, friends, drinking partners, lovers and even two numbered foetuses. [1] The name of former boyfriend, Billy Childish , could be seen prominently through the tent opening. The tent was square and coloured blue; its shape was reminiscent of the Margate Shell Grotto , with which Emin was very familiar from childhood; inside on the floor of the tent was the text, "With myself, always myself, never forgetting". [4] The work was created during a relationship she had in the mid-1990s with Carl Freedman , who had been an early friend of, and collaborator with, Damien Hirst and who had co-curated seminal Britart shows, such as Modern Medicine and Gambler. In 1995 Freedman curated the show Minky Manky at the South London Gallery , where the tent was first shown.

At that time Emin had not achieved the level of fame which she was to later, and was mainly known in art circles; she was fortunate to be able to exhibit alongside much better-known artists such as Damien Hirst , Gilbert and George and Sarah Lucas . [1] Emin described the genesis of the work, which turned out unexpectedly to be the highlight of the show: [1] “ At that time Sarah (Lucas) was quite famous, but I wasn’t at all. Carl said to me that I should make some big work as he thought the small-scale stuff I was doing at the time wouldn’t stand up well. I was furious. Making that work was my way at getting back at him. One review was really funny, the journalist had written something like 'She's slept with everyone – even the curator'! [5] ” At that time Emin refused to sell work directly to Charles Saatchi because she disapproved of his advertising work for Margaret Thatcher , whom she accused of "crimes against humanity". [6] Instead Saatchi bought it on the secondary market from a private dealer, Eric Franck, at a premium price of £40,000 — Emin had sold it originally for £12,000.

[6] She reconciled with Saatchi in 1999. [7] Art world gossip in 2001 was that Saatchi had been offered £300,000 for it; Emin's comment on this was, "He won't re-sell, but the art is his. He can do what he likes with it." [6] While the tent was installed at Charles Saatchi's home in 2002, Emin remarked, “ It looks brilliant. He’s got My Bed in the silver room, surrounded by silver goblets, silver trays and silver plates. It’s on a beautiful Persian rug. The whole thing looks totally baroque and mad. [8] ” Saatchi exhibited the tent in the 1997 Sensation exhibition held at the Royal Academy in London; public outrage was centred on Marcus Harvey 's portrait of Myra Hindley and, at the later staging of the exhibition at the Brooklyn Museum of Art in New York , on Chris Ofili 's The Holy Virgin Mary with collaged pornographic images.

[9] Momart fire In 2004, the tent was destroyed in a fire at the East London Momart warehouse, along with two of Emin's other works and some 100 more from Saatchi's collection, including works by Damien Hirst , Jake and Dinos Chapman and Martin Maloney . [10] Many other works were also lost, including major pieces by Patrick Heron and William Redgrave . [11] The public and media reaction was not one of sympathy but of mockery and scorn, focusing on the YBAs , Damien Hirst, the Chapman Brothers, and Emin, with particular attention to her tent. [12] Tabloid papers, The Sun and the Daily Mail , both stated they had already created their own replacement tents, and the latter's Godfrey Barker asked, "Didn't millions cheer as this 'rubbish' went up in flames?" [12] The same implication gained applause on BBC Radio 4 's Any Questions? ; Hugh Rifkind in The Times thought similarly to The Independent 's Tom Lubbock, who wrote: "It's odd to hear talk about irreplaceable losses. Really?

You'd have thought that, with the will and the funding, many of these works were perfectly replaceable. It wouldn't be very hard for Tracey Emin to re-stitch the names of Every One I Have Ever Slept With on to a little tent (it might need some updating since 1995.)" [12] Emin took a phlegmatic view of her work's destruction, saying, "The news comes between Iraqi weddings being bombed and people dying in the Dominican Republic in flash floods, so we have to get it into perspective." [13] She was, though, upset at the public reaction to the fire, pointing both to lack of cultural understanding — "The majority of the British public have no regard or no respect to what me and my peers do, to the point that they laugh at a disaster like a fire." — and to lack of compassion — "It is just not fair and it's not funny and it's not polite and it's bad manners.

I would never laugh at a disaster like that — I just have some empathy and sympathy with people's loss." [14] She also stated that she could not remake the tent, because "I had the inclination and inspiration 10 years ago to make that, I don't have that inspiration and inclination now ... My work is very personal, which people know, so I can't create that emotion again — it's impossible." [14] At her 2008 Edinburgh retrospective show, she said that after the fire she had been offered £1 million (the amount of the insurance payment) by the Saatchi Gallery to remake the tent, but that, although she had recreated some small pieces for the retrospective, to have remade the tent "would just be silly". [2] In May 2009, Dinos Chapman said that he and his brother Jake recreated the tent. Both Emin and the Chapmans are represented by White Cube gallery in London. In The Independent, Jerome Taylor questioned whether this was a publicity stunt.

[15] Burn Baby Burn In collaboration with Uri Geller , artist Stuart Semple collected remains from the Momart fire site and packaged them in 8 plastic boxes under the title Burn Baby Burn; the boxes had slogans in pink lettering, including "RIP YBA" which referred to the Young British Artists amongst whom Emin is classified. [16] Semple stated that among the debris collected there were fragments of Emin's tent. The assemblage was offered to, but rejected by, the Tate gallery. [16] See also ↑ BBC: "Fire devastates Saatchi artworks. ↑ Meek: "Art into ashes". Everyone I Have Ever Slept With 1963–1995, 1995 - Tracey Emin - WikiArt.org - encyclopedia of visual arts Everyone I Have Ever Slept With 1963–1995 it is a historically significant artwork the image is only being used for informational and educational purposes the image is readily available on the internet the image is a low resolution copy of the original artwork and is unsuitable for commercial use More … WikiArt.org allows unlimited copying, distributing and displaying of the images of public domain artworks solely.

We use here Copyright term based on authors' deaths according to U.S. Copyright Law, that is 70 years. In other countries, the duration of copyright term may differ. Please check here copyright length according to your country's legislation before you consider reproducing images borrowed from Wikipaintings.org Artworks protected by copyright are supposed to be used only for contemplation. Images of that type of artworks are prohibited for copying, printing, or any kind of reproducing and communicating to public since these activities may be considered copyright infringement. Tracey Emin Everyone I Have Ever Slept With 1963–1995 Privacy & Advertising Everyone I Have Ever Slept With 1963–1995 Everyone I Have Ever Slept With 1963–1995 by Tracey Emin (1995). An exterior view of the work. Everyone I Have Ever Slept With 1963–1995 (1995), also known as “The Tent”, [1] was an artwork created by Tracey Emin . The work was a tent with the appliquéd names of, literally, everyone she had ever slept with, but not necessarily in the sexual sense.

It achieved iconic status, [1] was owned by Charles Saatchi , and was destroyed in the 2004 Momart London warehouse fire. She has refused to recreate it. Contents 4 References History Tracey Emin calls Everyone I Have Ever Slept With 1963–1995 “my tent” [2] or “the tent” [3] and considers it to be one of the two “seminal pieces” she has created (the other being My Bed ); [2] she has described both pieces as “seminal, fantastic and amazing work”. [3] Everyone I Have Ever Slept With 1963–1995 was a tent appliquéd with 102 names of the people she had slept with up to the time of its creation in 1995. [2] The title is often misinterpreted as a euphemism indicating sexual partners and the work termed “a list of all the people that Emin has ever had sex with”, but is in fact intended more inclusively: [1] “ Some I’d had a shag with in bed or against a wall some I had just slept with, like my grandma.

I used to lay in her bed and hold her hand. We used to listen to the radio together and nod off to sleep. You don’t do that with someone you don’t love and don’t care about. [2] ” Everyone I Have Ever Slept With 1963–1995 by Tracey Emin (1995). An interior view of the work. The names include family, friends, drinking partners, lovers and even two numbered foetuses. [1] The name of former boyfriend, Billy Childish , could be seen prominently through the tent opening. The tent was square and coloured blue; its shape was reminiscent of the Margate Shell Grotto , with which Emin was very familiar from childhood; inside on the floor of the tent was the text, “With myself, always myself, never forgetting”. [4] The work was created during a relationship she had in the mid-1990s with Carl Freedman , who had been an early friend of, and collaborator with, Damien Hirst and who had co-curated seminal Britart shows, such as Modern Medicine and Gambler.

In 1995 Freedman curated the show Minky Manky at the South London Gallery , where the tent was first shown. At that time Emin had not achieved the level of fame which she was to later, and was mainly known in art circles; she was fortunate to be able to exhibit alongside much better-known artists such as Damien Hirst, Gilbert and George and Sarah Lucas . [1] Emin described the genesis of the work, which turned out unexpectedly to be the highlight of the show: [1] “ At that time Sarah (Lucas) was quite famous, but I wasn’t at all. Carl said to me that I should make some big work as he thought the small-scale stuff I was doing at the time wouldn’t stand up well. I was furious. Making that work was my way at getting back at him. One review was really funny, the journalist had written something like ‘She’s slept with everyone – even the curator’! [5] ” At that time Emin refused to sell work directly to Charles Saatchi because she disapproved of his advertising work for Margaret Thatcher , whom she accused of “crimes against humanity”.

[6] Instead Saatchi bought it on the secondary market from a private dealer, Eric Franck, at a premium price of £40,000 – Emin had sold it originally for £12,000. [6] She reconciled with Saatchi in 1999. [7] Art world gossip in 2001 was that Saatchi had been offered £300,000 for it; Emin’s comment on this was, “He won’t re-sell, but the art is his. He can do what he likes with it.” [6] While the tent was installed at Charles Saatchi’s home in 2002, Emin remarked, “ It looks brilliant. He’s got My Bed in the silver room, surrounded by silver goblets, silver trays and silver plates. It’s on a beautiful Persian rug. The whole thing looks totally baroque and mad.

[8] ” Saatchi exhibited the tent in the 1997 Sensation exhibition held at the Royal Academy in London; public outrage was centred on Marcus Harvey ‘s portrait of Myra Hindley and, at the later staging of the exhibition at the Brooklyn Museum of Art in New York, on Chris Ofili ‘s The Holy Virgin Mary with collaged pornographic images. [9] Momart fire In 2004, the tent was destroyed in a fire at the East London Momart warehouse, along with two of Emin’s other works and some 100 more from Saatchi’s collection, including works by Damien Hirst , Jake and Dinos Chapman and Martin Maloney . [10] Many other works were also lost, including major pieces by Patrick Heron and William Redgrave . [11] The public and media reaction was not one of sympathy but of mockery and scorn, [12] focusing on the YBAs , Damien Hirst, the Chapman Brothers, and Emin, with particular attention to her tent.

[13] Tabloid papers, The Sun and the Daily Mail , both stated they had already created their own replacement tents, and the latter’s Godfrey Barker asked, “Didn’t millions cheer as this ‘rubbish’ went up in flames?” [13] The same implication gained applause on BBC Radio 4 ‘s Any Questions? ; Hugh Rifkind in The Times thought similarly to The Independent ‘s Tom Lubbock, who wrote: “It’s odd to hear talk about irreplaceable losses. Really? You’d have thought that, with the will and the funding, many of these works were perfectly replaceable.

It wouldn’t be very hard for Tracey Emin to re-stitch the names of Every One I Have Ever Slept With on to a little tent (it might need some updating since 1995.)” [13] Emin took a phlegmatic view of her work’s destruction, saying, “The news comes between Iraqi weddings being bombed and people dying in the Dominican Republic in flash floods, so we have to get it into perspective.” [14] She was, though, upset at the public reaction to the fire, pointing both to lack of cultural understanding – “The majority of the British public have no regard or no respect to what me and my peers do, to the point that they laugh at a disaster like a fire.” – and to lack of compassion – “It is just not fair and it’s not funny and it’s not polite and it’s bad manners.

I would never laugh at a disaster like that – I just have some empathy and sympathy with people’s loss.” [12] [15] She also stated that she could not remake the tent, because “I had the inclination and inspiration 10 years ago to make that, I don’t have that inspiration and inclination now … My work is very personal, which people know, so I can’t create that emotion again – it’s impossible.” [15] At her 2008 Edinburgh retrospective show, she said that after the fire she had been offered £1 million (the amount of the insurance payment) by the Saatchi Gallery to remake the tent, but that, although she had recreated some small pieces for the retrospective, to have remade the tent “would just be silly”. [3] In May 2009, Dinos Chapman said that he and his brother Jake recreated the tent. Both Emin and the Chapmans are represented by White Cube gallery in London. In The Independent, Jerome Taylor questioned whether this was a publicity stunt.

[16] Burn Baby Burn In collaboration with Uri Geller , artist Stuart Semple collected remains from the Momart fire site and packaged them in 8 plastic boxes under the title Burn Baby Burn; the boxes had slogans in pink lettering, including “RIP YBA” which referred to the Young British Artists amongst whom Emin is classified. [17] Semple stated that among the debris collected there were fragments of Emin’s tent. The assemblage was offered to, but rejected by, the Tate gallery. [17] See also ^ BBC: “Fire devastates Saatchi artworks. ^ Meek: “Art into ashes”. ^ a b Edwardes. References Barker, Barry (2003). “Tracey Emin with Barry Barker”, University of Brighton, 3 December 2003. Retrieved 19 June 2007. Barnes, Anthony (2006). “Saatchi’s new sensation: the Peeing Madonna”, The Independent , 17 September 2006. Retrieved 19 June 2007. BBC (2004).

“Emin anger over public ‘sniggers’”, BBC online, 30 May 2004. Retrieved 19 June 2007. BBC (2004). “Fire devastates Saatchi artworks”, 26 May 2004. Retrieved 19 June 2007. Brown, Neil (2006). Tracey Emin. UK: Tate Publishing . ISBN 1-85437-542-3 [ Amazon-US | Amazon-UK ]. Didcock, Barry (2006). “The E spot”, The Sunday Herald , 30 April 2006. Retrieved from findarticles.com, 19 June 2007. Edwardes, Charlotte (2004). “New art rises from wreckage of warehouse”, The Daily Telegraph , 18 July 2004. Retrieved 19 June 2007. Gleadell, Colin (2003). “The Old Faithfuls”, The Daily Telegraph , 28 March 2003. Retrieved 19 June 2007.

Meek, James (2004). “Art into ashes”, The Guardian , 23 September 2004. Retrieved 19 June 2007. Meek, James (2004). “Art into ashes, part 2″, The Guardian , 23 September 2004. Retrieved 19 June 2007. SHOWstudio.com. “In camera – Tracey Emin”. Retrieved 19 June 2007. Taylor, Jerome. (26 May 2009). ‘Chapmans rebuild Emin’s tent’, The Independent. Retrieved 23 January 2010. The Guardian “26.05.2004: Art fire”. Retrieved 19 June 2007. Wade, Mike, “Tracey Emin tells Edinburgh she rejected £1m offer to recreate tent”, The Times , 2 August 2008. Retrieved 3 August 2008. Source Content is authored by an open community of volunteers and is not produced by or in any way affiliated with or reviewed by PediaView.com.

Licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License , using material from the Wikipedia article “Everyone I Have Ever Slept With 1963–1995″, which is available in its original form here: Artwork by Tracey Emin - Everyone I have ever slept with: 1963-1995, | Artstack - art online Tracey Emin (180 artworks, 2,480 followers) Tracey Emin, CBE, RA (born 3 July 1963) is an English contemporary artist known for her autobiographical and confessional artwork. Emin produces work in a variety of media including drawing, painting, sculpture, film, photography, neon text and sewn appliqué. Once the "enfant terrible" of the Young British Artists in the 1980s, Tracey Emin is now a Royal Academician of the Royal Academy of Arts.Known for their confrontational subject matter and portrayal of taboo subjects, critics accused the Young British Artists of relying on "shock tactics" rather than artistic talent.

Yet the nature of discussing taboo subjects can at first appear shocking, discussing her experiences as a female and her relationship with her body has been vital for a younger generation of women.In 1997, her work Everyone I Have Ever Slept With 1963–1995, a tent appliquéd with the names of everyone the artist had ever shared a bed with was shown at Charles Saatchi's Sensation exhibition held at the Royal Academy in London. The same year, she gained considerable media exposure when she swore multiple times in a state of drunkenness on a live discussion programme on British television.In 1999, Emin had her first solo exhibition in the United States at Lehmann Maupin Gallery, entitled Every Part of Me's Bleeding. Later that year, she was a Turner Prize nominee and exhibited My Bed – a readymade installation, consisting of her own unmade dirty bed, in which she had spent several weeks drinking, smoking, eating, sleeping and having sexual intercourse while undergoing a period of severe emotional flux.

The artwork featured used condoms and blood-stained underwear.Emin is a panelist and speaker: she has lectured at the Victoria and Albert Museum in London, the Art Gallery of New South Wales in Sydney (2010), the Royal Academy of Arts (2008), and the Tate Britain in London (2005) about the links between creativity and autobiography, and the role of subjectivity and personal histories in constructing art. Emin's art takes many different forms of expression including needlework and sculpture, drawing, video and installation, photography and painting.In December 2011, she was appointed Professor of Drawing at the Royal Academy; with Fiona Rae, she is one of the first two female professors since the Academy was founded in 1768.Emin lives in Spitalfields, east London. Everyone I Have Ever Slept With 1963–1995 - Wikipedia, Photos and Videos Everyone I Have Ever Slept With 1963–1995 NEXT GO TO RESULTS [51 ..

100] WIKIPEDIA ARTICLE Jump to: navigation , search Everyone I Have Ever Slept With 1963–1995 by Tracey Emin (1995). An exterior view of the work. Everyone I Have Ever Slept With 1963–1995 (1995), also known as "The Tent", [1] was an artwork created by Tracey Emin . The work was a tent with the appliquéd names of, literally, everyone she had ever slept with, but not necessarily in the sexual sense. It achieved iconic status, [1] was owned by Charles Saatchi , and was destroyed in the 2004 Momart London warehouse fire. She has refused to recreate it. Contents History[ edit ] Tracey Emin calls Everyone I Have Ever Slept With 1963–1995 "my tent" [2] or "the tent" [3] and considers it to be one of the two "seminal pieces" she has created (the other being My Bed ); [2] she has described both pieces as "seminal, fantastic and amazing work".

[3] Everyone I Have Ever Slept With 1963–1995 was a tent appliquéd with 102 names of the people she had slept with up to the time of its creation in 1995. [2] The title is often misinterpreted as a euphemism indicating sexual partners and the work termed "a list of all the people that Emin has ever had sex with", but is in fact intended more inclusively: [1] “ Some I'd had a shag with in bed or against a wall some I had just slept with, like my grandma. I used to lay in her bed and hold her hand. We used to listen to the radio together and nod off to sleep. You don't do that with someone you don't love and don't care about. [2] ” Everyone I Have Ever Slept With 1963–1995 by Tracey Emin (1995). An interior view of the work. The names include family, friends, drinking partners, lovers and even two numbered foetuses. [1] The name of former boyfriend, Billy Childish , could be seen prominently through the tent opening.

The tent was square and coloured blue; its shape was reminiscent of the Margate Shell Grotto , with which Emin was very familiar from childhood; inside on the floor of the tent was the text, "With myself, always myself, never forgetting". [4] The work was created during a relationship she had in the mid-1990s with Carl Freedman , who had been an early friend of, and collaborator with, Damien Hirst and who had co-curated seminal Britart shows, such as Modern Medicine and Gambler. In 1995 Freedman curated the show Minky Manky at the South London Gallery , where the tent was first shown. At that time Emin had not achieved the level of fame which she was to later, and was mainly known in art circles; she was fortunate to be able to exhibit alongside much better-known artists such as Damien Hirst, Gilbert and George and Sarah Lucas . [1] Emin described the genesis of the work, which turned out unexpectedly to be the highlight of the show: [1] “ At that time Sarah (Lucas) was quite famous, but I wasn't at all.

Carl said to me that I should make some big work as he thought the small-scale stuff I was doing at the time wouldn't stand up well. I was furious. Making that work was my way at getting back at him. One review was really funny, the journalist had written something like 'She's slept with everyone – even the curator'! [5] ” At that time Emin refused to sell work directly to Charles Saatchi because she disapproved of his advertising work for Margaret Thatcher , whom she accused of "crimes against humanity". [6] Instead Saatchi bought it on the secondary market from a private dealer, Eric Franck, at a premium price of £40,000 – Emin had sold it originally for £12,000. [6] She reconciled with Saatchi in 1999. [7] Art world gossip in 2001 was that Saatchi had been offered £300,000 for it; Emin's comment on this was, "He won't re-sell, but the art is his.

He can do what he likes with it." [6] While the tent was installed at Charles Saatchi's home in 2002, Emin remarked, “ It looks brilliant. He's got My Bed in the silver room, surrounded by silver goblets, silver trays and silver plates. It's on a beautiful Persian rug. The whole thing looks totally baroque and mad. [8] ” Saatchi exhibited the tent in the 1997 Sensation exhibition held at the Royal Academy in London; public outrage was centred on Marcus Harvey 's portrait of Myra Hindley and, at the later staging of the exhibition at the Brooklyn Museum of Art in New York, on Chris Ofili 's The Holy Virgin Mary with collaged pornographic images. [9] Momart fire[ edit ] In 2004, the tent was destroyed in a fire at the East London Momart warehouse, along with two of Emin's other works and some 100 more from Saatchi's collection, including works by Damien Hirst , Jake and Dinos Chapman and Martin Maloney . [10] Many other works were also lost, including major pieces by Patrick Heron and William Redgrave .

[11] The public and media reaction was not one of sympathy but of mockery and scorn, [12] focusing on the YBAs , Damien Hirst, the Chapman Brothers, and Emin, with particular attention to her tent. [13] Tabloid papers, The Sun and the Daily Mail , both stated they had already created their own replacement tents, and the latter's Godfrey Barker asked, "Didn't millions cheer as this 'rubbish' went up in flames?" [13] The same implication gained applause on BBC Radio 4 's Any Questions? ; Hugh Rifkind in The Times thought similarly to The Independent 's Tom Lubbock, who wrote: "It's odd to hear talk about irreplaceable losses. Really? You'd have thought that, with the will and the funding, many of these works were perfectly replaceable.

It wouldn't be very hard for Tracey Emin to re-stitch the names of Every One I Have Ever Slept With on to a little tent (it might need some updating since 1995.)" [13] Emin took a phlegmatic view of her work's destruction, saying, "The news comes between Iraqi weddings being bombed and people dying in the Dominican Republic in flash floods, so we have to get it into perspective." [14] She was, though, upset at the public reaction to the fire, pointing both to lack of cultural understanding – "The majority of the British public have no regard or no respect to what me and my peers do, to the point that they laugh at a disaster like a fire." – and to lack of compassion – "It is just not fair and it's not funny and it's not polite and it's bad manners. I would never laugh at a disaster like that – I just have some empathy and sympathy with people's loss." [12] [15] She also stated that she could not remake the tent, because "I had the inclination and inspiration 10 years ago to make that, I don't have that inspiration and inclination now ...

My work is very personal, which people know, so I can't create that emotion again – it's impossible." [15] At her 2008 Edinburgh retrospective show, she said that after the fire she had been offered £1 million (the amount of the insurance payment) by the Saatchi Gallery to remake the tent, but that, although she had recreated some small pieces for the retrospective, to have remade the tent "would just be silly". [3] In May 2009, Dinos Chapman said that he and his brother Jake recreated the tent. Both Emin and the Chapmans are represented by White Cube gallery in London. In The Independent, Jerome Taylor questioned whether this was a publicity stunt. [16] Burn Baby Burn[ edit ] In collaboration with Uri Geller , artist Stuart Semple collected remains from the Momart fire site and packaged them in 8 plastic boxes under the title Burn Baby Burn; the boxes had slogans in pink lettering, including "RIP YBA" which referred to the Young British Artists amongst whom Emin is classified. [17] Semple stated that among the debris collected there were fragments of Emin's tent.

The assemblage was offered to, but rejected by, the Tate gallery. [17] ^ BBC: "Fire devastates Saatchi artworks. ^ Meek: "Art into ashes". Everyone I Have Ever Slept With 1963-1995 - The Art and Popular Culture Encyclopedia Everyone I Have Ever Slept With 1963-1995 From The Art and Popular Culture Encyclopedia Train wreck at Montparnasse ( October 22 , 1895 ) by Studio Lévy and Sons. Everyone I Have Ever Slept With 1963-1995 ( 1995 ), also known as "The Tent", was an artwork created by Tracey Emin . The work was a tent with the appliquéd names of, literally, everyone she had ever slept with, but not necessarily in the sexual sense. It achieved iconic status, was owned by Charles Saatchi , and was destroyed in the 2004 Momart London warehouse fire.

Unless indicated otherwise, the text in this article is either based on Wikipedia article "Everyone I Have Ever Slept With 1963-1995" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License ; or on original research by Jahsonic and friends. See Art and Popular Culture's copyright notice. Everyone I Have Ever Slept With 1963-1995 : Wikis (The Full Wiki) 4 References History Tracey Emin calls Everyone I Have Ever Slept With 1963–1995 "my tent" [3] or "the tent" [2] and considers it to be one of the two "seminal pieces" she has created (the other being My Bed ); [3] she has described both pieces as "seminal, fantastic and amazing work". [2] Everyone I Have Ever Slept With 1963–1995 was a tent appliquéd with 102 names of the people she had slept with up to the time of its creation in 1995.

[3] The title is often misinterpreted as a euphemism indicating sexual partners and the work termed "a list of all the people that Emin has ever had sex with", but is in fact to be taken as a literal statement: [1] “ Some I'd had a shag with in bed or against a wall some I had just slept with, like my grandma. I used to lay in her bed and hold her hand. We used to listen to the radio together and nod off to sleep. You don't do that with someone you don't love and don't care about. [3] ” Everyone I Have Ever Slept With 1963–1995 by Tracey Emin (1995). An interior view of the work. The names include family, friends, drinking partners, lovers and even two numbered foetuses. [1] The name of former boyfriend, Billy Childish , could be seen prominently through the tent opening. The tent was square and coloured blue; its shape was reminiscent of the Margate Shell Grotto , with which Emin was very familiar from childhood; inside on the floor of the tent was the text, "With myself, always myself, never forgetting".

[4] The work was created during a relationship she had in the mid-1990s with Carl Freedman , who had been an early friend of, and collaborator with, Damien Hirst and who had co-curated seminal Britart shows, such as Modern Medicine and Gambler. In 1995 Freedman curated the show Minky Manky at the South London Gallery , where the tent was first shown. At that time Emin had not achieved the level of fame which she was to later, and was mainly known in art circles; she was fortunate to be able to exhibit alongside much better-known artists such as Damien Hirst , Gilbert and George and Sarah Lucas . [1] Emin described the genesis of the work, which turned out unexpectedly to be the highlight of the show: [1] “ At that time Sarah (Lucas) was quite famous, but I wasn’t at all. Carl said to me that I should make some big work as he thought the small-scale stuff I was doing at the time wouldn’t stand up well. I was furious. Making that work was my way at getting back at him. One review was really funny, the journalist had written something like 'She's slept with everyone – even the curator'!

[5] ” At that time Emin refused to sell work directly to Charles Saatchi because she disapproved of his advertising work for Margaret Thatcher , whom she accused of "crimes against humanity". [6] Instead Saatchi bought it on the secondary market from a private dealer, Eric Franck, at a premium price of £40,000 — Emin had sold it originally for £12,000. [6] She reconciled with Saatchi in 1999. [7] Art world gossip in 2001 was that Saatchi had been offered £300,000 for it; Emin's comment on this was, "He won't re-sell, but the art is his. He can do what he likes with it." [6] Saatchi exhibited the tent in the 1997 Sensation exhibition held at the Royal Academy in London; public outrage was centred on Marcus Harvey 's portrait of Myra Hindley and, at the later staging of the exhibition at the Brooklyn Museum of Art in New York , on Chris Ofili 's The Holy Virgin Mary with collaged pornographic images.

[8] Advertisements Momart fire In 2004, the tent was destroyed in a fire at the East London Momart warehouse, along with two of Emin's other works and some 100 more from Saatchi's collection, including works by Damien Hirst , Jake and Dinos Chapman and Martin Maloney . [9] Many other works were also lost, including major pieces by Patrick Heron and William Redgrave . [10] The public and media reaction was not one of sympathy but of mockery and scorn, focusing on the YBAs , Damien Hirst, the Chapman Brothers, and Emin, with particular attention to her tent. [11] Tabloid papers, The Sun and the Daily Mail , both stated they had already created their own replacement tents, and the latter's Godfrey Barker asked, "Didn't millions cheer as this 'rubbish' went up in flames?" [11] The same implication gained applause on BBC Radio 4 's Any Questions? ; Hugh Rifkind in The Times thought similarly to The Independent 's Tom Lubbock, who wrote: "It's odd to hear talk about irreplaceable losses. Really?

You'd have thought that, with the will and the funding, many of these works were perfectly replaceable. It wouldn't be very hard for Tracey Emin to re-stitch the names of Every One I Have Ever Slept With on to a little tent (it might need some updating since 1995.)" [11] Emin took a phlegmatic view of her work's destruction, saying, "The news comes between Iraqi weddings being bombed and people dying in the Dominican Republic in flash floods, so we have to get it into perspective." [12] She was, though, upset at the public reaction to the fire, pointing both to lack of cultural understanding — "The majority of the British public have no regard or no respect to what me and my peers do, to the point that they laugh at a disaster like a fire." — and to lack of compassion — "It is just not fair and it's not funny and it's not polite and it's bad manners.

I would never laugh at a disaster like that — I just have some empathy and sympathy with people's loss." [13] She also stated that she could not remake the tent, because "I had the inclination and inspiration 10 years ago to make that, I don't have that inspiration and inclination now ... My work is very personal, which people know, so I can't create that emotion again — it's impossible." [13] At her 2008 Edinburgh retrospective show, she said that after the fire she had been offered £1 million (the amount of the insurance payment) by the Saatchi Gallery to remake the tent, but that, although she had recreated some small pieces for the retrospective, to have remade the tent "would just be silly". [2] Burn Baby Burn In collaboration with Uri Geller , artist Stuart Semple collected remains from the Momart fire site and packaged them in 8 plastic boxes under the title Burn Baby Burn; the boxes had slogans in pink lettering, including "RIP YBA" which referred to the Young British Artists amongst whom Emin is classified. [14] Semple stated that among the debris collected there were fragments of Emin's tent.

The assemblage was offered to, but rejected by, the Tate gallery. [14] See also ^ BBC: "Fire devastates Saatchi artworks. ^ Meek: "Art into ashes". 1000+ images about Tracey Emin on Pinterest | Linen pillows, The two and London Tracey Emin - Everyone I Have Ever Slept With- about lovers, family, and the two children she had aborted. See More

Question: Who created the artwork Everyone I Have Ever Slept With 1963–1995 which was destroyed in the 2004 Momart London warehouse fire?
Answer: TRACEY EMIN